Gu-Form Longquan Celadon Vase, Ming Dynasty, early 15th c., AD, China, Height: 25 cm

Chinese and Vietnamese Ceramics from American and Japanese Collections
March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11am-6pm (otherwise by appointment)
3 East 66th Street, Suite 2B

Zetterquist Galleries is delighted to present an exhibition of Chinese and Vietnamese Ceramics, all sourced from American and Japanese collections.

The Chinese pieces range in date from the Tang through Ming Dynasty, starting with a large Tang Dynasty whiteware jar, rare for its size and excellent condition. There is a selection of nine Song Dynasty pieces with fine examples of Ding, Yaozhou, Henan and Cizhou pieces from Northern China. From Southern China, there are elegant examples of Qingbai porcelains from the Hutien Kilns and a Jian-yao “Hare’s fur” tea bowl from a Japanese tea ceremony collection. From the Ming Dynasty there are two Longquan celadons; The barbed-rim charger with an ideal minty-green glaze color, and an exquisite “Gu” form vase, with Taoist trinary symbols, in an old lacquer box with silver inscription, also from a Japanese tea ceremony collection.

Most of the Vietnamese selections come from the collection of Mary and Cheney Cowles, whose extraordinary collection of Chinese ceramics sold in the gallery last Spring. They collected Vietnamese ceramics with the same exacting eye for quality, condition and beauty with which they chose their Chinese wares. Representing Northern Vietnamese kilns from the Ly Dynasty (1009-1225) through the Le Dynasty (1428-1788), this scholarly collection includes wares of varied techniques, forms and functions. From the elegant Thanh Hoa pieces with Buddhist inspired form, to Blue and white porcelaineous pieces of excellent condition and intricate decoration, this group exhibits the finest of Vietnamese wares.

There are more Vietnamese ceramics from Japanese and American collections on view which, as with many of the Cowles’ pieces, have illustrious provenance and publication histories.

Large Blue and White Charger with Floral Decoration, Le-So Dynasties, 15th-16th c., Vietnam, Diameter: 37.8 cm

This is their seventh Vietnamese exhibition in the last 30 years. It is a field that Zetterquist Galleries thoroughly enjoy and still feel to be eminently collectable. They are particularly fond of exhibiting Vietnamese ceramics together with Chinese ceramics, as it not only shows their inevitable stylistic and technical connections, but also highlights the unique charm and joyful spontaneity of Vietnamese design and decoration.

To learn more and view their catalog, click here.

A Pair of Six-Panel Folding Screens with Painting of Entertainment at Children’s Seasonal Festival (left side), Edo period, 17th c., color on gold-leafed paper, 370 x 102.5 (height) cm

Selection of Japanese and Korean Art
March 14 – 19, 2024
Asia Week Hours: Mar 14-19, 10am-6pm
Nicholas Hall 17 East 76th Street, 4th Floor

Hiroshi Yanagi Oriental Art returns to New York from Kyoto with Selection of Japanese and Korean Art, an exhibition of masterpieces of paintings sculptures, ceramics, & other artworks, ranging from 12th-20th centuries. Highlights include a statue of Jizo, a scroll painting by Ito Jakuchu and folding screens depicting a children’s seasonal festival. Other important works comprise of a blue and white Korean celadon vase with birds design and a Noh mask (Kurohige).

⁠Blue and white Storage Jar with Flower and Bird Design, 18th c., 29(d) x 37 (height) cm; Courtesy Hiroshi Yanagi Oriental Art

They look forward to welcoming you to their exhibition at Nicholas Hall this week.

To learn more, click here.

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An Elephant and Keeper, India, Mughal, ca. 1650–60, opaque color and gold on paper; Howard Hodgkin Collection, Purchase, Florence and Herbert Irving Acquisitions, Harris Brisbane Dick, and 2020 Benefit Funds; Howard S. and Nancy Marks, Lila Acheson Wallace, and Friends of Islamic Art Gifts; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and funds from various donors, 2022 (2022.187)

Howard Hodgkin and India: Reflections on Art Making and Collecting
Friday, March 15, 2024 from 6-7pm
The Grace Rainey Rogers Auditorium

Join a panel of distinguished experts at The Met for their Annual Distinguished Lecture on the Arts of South and Southeast Asia this Friday, March 15th at 6pm.

Presented in conjunction with their current exhibition Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, this annual lecture brings together experts close to Howard Hodgkin, including his partner of thirty-three years, Antony Peattie, for a personal look at the artist and collector’s lifetime engagement with India and Indian painting.

Over the course of sixty years, Hodgkin (British, 1932–2017) formed a collection of Indian paintings and drawings that is recognized as one of the finest of its kind. Learn about his practice as a highly regarded painter and printmaker and his collection of works from the Mughal, Deccani, Rajput, and Pahari courts dating from the 16th to the 19th centuries that reflect his personal passion for Indian art.

Antony Peattie, writer
Glenn D. Lowry, The David Rockefeller Director, The Museum of Modern Art
John Guy, Florence and Herbert Irving Curator of the Arts of South and Southeast Asian Art, Department of Asian Art, The Met
Navina Haidar, Nasser Sabah al-Ahmad al-Sabah Curator in Charge, Department of Islamic Art, The Met
Introduced by Mike Hearn, Douglas Dillon Chair, Department of Asian Art, The Met

Sign up today to join in this fascinating discussion.

Ōshita Sekkō (1874-1960), Tiered Accessory Box with Cormorant and Fish, 1933, maki-e lacquer on wood with silver rims, 8¾ x 11¼ x 8¾ in. (22.5 x 28.5 x 22.5 cm)

Japanese Modern Masterpieces 1910-1950
March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11-5pm (otherwise by appointment)
9 East 63rd Street

Thomsen Gallery is pleased to present a collection of Japanese modern masterpieces from 1910 to 1950 during Asia Week New York. The exhibition focuses on Japanese fine art from these decades, a time of great change for Japan and its arts. Superb works were created for the domestic market, in contrast to the export-oriented output during the prior Meiji era. Though most painters of the Taisho and early Showa eras typically remained focused on traditional themes, they often experimented with new materials and perspectives. They shifted from stylized depictions of nature to naturalistic botanical studies and many works show influence from the West.

Kawamura Kokyo (b. 1913), Garden Scene, 1930s, two-panel folding screen; ink, mineral colors, and shell powder on silk, 60¼ x 61¾ in. (153 x 157 cm)

They look forward to welcoming you to their Upper East Side gallery this week.

To learn more, click here.

Kajiwara Koho (b. 1935), Peony Basket, late 20th century, madake bamboo and rattan, 41.75 x 28.5 x 13.5 in.

A Pause in Time, An Emptiness in Space: Ma in Japanese Bamboo Art
March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11 am-6 pm  (otherwise by appointment)
Opening Reception: Thursday, March 14, 5-9 pm
Colnaghi, 23 East 67th Street, Fourth Floor

TAI Modern returns to Asia Week New York this spring with  a special exhibition of extraordinary works by some of bamboo art’s most esteemed artists, both historic and contemporary. Ma encompasses various meanings, including space, pause, rest, time, or opening, all of which contribute to shaping the distinct aesthetics of bamboo art. The Heart Sutra, one of the most famous texts in Buddhism, states that “form is emptiness, emptiness is form.” This apparent paradox represents a fundamental philosophy in Japanese design and culture, where the significance of absence is equal to that of presence.

This exhibition showcases extraordinary works by some of bamboo art’s most esteemed artists. On display are over forty masterworks, including the dramatic traditional Peony Basket by Kajiwara Koho, featuring a huge arching handle that creates an empty stage for flower arrangement. Hisatomi Muan presents a contemporary version of a circular-handled peony basket in his work aptly titled Space. Sculptural forms abound in our selection, such as the exuberant Setting Sun by Shono Tokuzo, an astoundingly delicate and airy woven sculpture titled Loop by Tanioka Shigeo, and Plume, a large sculpture by the up-and-coming young artist Hasegawa Kei. Hasegawa’s work was recently added to the collection of a prominent public art museum in America. Notably, Japanese Living National Treasure Fujitsuka Shosei’s The Sound of Waves will make its first appearance since the artist received this prestigious title.

Hasegawa Kei, Plume, 2021, black bamboo, rattan, 37 x 19.5 x 12.5 in.

TAI Modern eagerly embraces this opportunity to offer education and guidance, catering to both seasoned collectors and those exploring the art world for the first time. They look forward to welcoming you this week at Colnaghi, 23 East 67th Street, Fourth Floor.

To learn more and preview the exhibit, click here.

Kanō Hōgai (1827-1888), Design for a Clasp (detail), late 19th century, ink on paper, hanging scroll, with box authentication by Okakura Shūsui, double box, 20.2 x 31.5 cm / 135 x 49 cm (overall)

Postwar Japanese Calligraphy and Painting
March 14 – April 19, 2024
Asia Week Hours: Mar 14-15 & 18-22, 11am-6pm; Mar 16, 11am-5pm; Mar 17, 12-5pm
From Mar 18-Apr 19, Mon-Fri, 11am-6pm
Joan B Mirviss LTD 39 East 78th Street, Suite 401

Shibunkaku is pleased to present Postwar Japanese Calligraphy and Painting for this season’s Asia Week New York. The exhibit focuses on abstract paintings and works on paper of Japanese artists from the postwar period, including works by two pioneering female artists who were active in New York City during the 1950s and 60s, Miyawaki Aiko (1929-2014) and Shinoda Tōkō (1913-2021).

The gallery hope to express the variety of artistic practices in Japanese art during the postwar era, the international dialogue with artistic movements such as Art Informel and Abstract Expressionism, and challenge conventional narratives and constraints endured within a Western context. Also showcased are works by Morita Shiryū (1912-1998) and Inoue Yūichi (1916-1985), founding members of the avant-garde calligraphy collective, Bokujinkai. As a special highlight, we will display a treasured classical work by Kano Hōgai (1827-1888), one of the most influential painters of the early Meiji period, and the last of the Kano School painters.

This presentation of works in New York alongside the ceramic works of Eternal Partnership: Japanese Ceramics in Blue/White at Joan B Mirviss LTD offers a unique perspective on the ever-evolving dynamism of Japan’s artistic tradition.

To learn more, click here.

Meena Kayastha, Goddess Varahi, 2023, traditional Nepali door, papier-mache, pliers, nails, coins, keys, jewelry, bell, discarded vehicle metal parts, 58 x 28 x 9 in.; photo courtesy of Meena Kayastha, Bhaktapur, Nepal; Roshan Pradhan, New World, 2021, acrylic on canvas, 183 x 152.5 cm; photo courtesy of Sangeeta Thapa, Founder Director Siddhartha Art Gallery, Kathmandu, Nepal; Shushank Shrestha, Male Guardian Lion Dog (one of a pair from Two Guardian Lion Dogs), 2023, ceramic, in glaze lustre; 52 × 27 × 44 in.; photo courtesy of Shuhank Shrestha, Massachusetts, USA

Reimagine: Himalayan Art Now
March 15 – October 6, 2024
Opening Reception: Friday, March 15, 6-10pm (Free)
Opening Weekend: Saturday, March 16 & Sunday March 17, 11am-5pm (Free Admission)

Contemplate and celebrate what Himalayan art means now with a Museum-wide exhibition of artworks by over 30 contemporary artists, many from the Himalayan region and diaspora and others inspired by Himalayan art and cultures, at the Rubin Museum of Art this Friday, March 15th.

On the occasion of the Rubin’s 20th anniversary, Reimagine: Himalayan Art Now transforms the entire Museum with new commissions, some site-specific, and existing works juxtaposed with objects from the Museum’s collection, inviting new ways of encountering traditional Himalayan art.

Through a wide range of media, including painting, sculpture, sound, video, installation, performance, and more, the artists explore their personal and collective histories and call attention to themes such as the fluidity of identity, spiritual practices, sense of belonging, grief, memory, and reclamation. The artists also offer critical and thoughtful commentary on issues facing humanity across time.

Also join them for opening weekend celebrations with free admission on Saturday, March 16 and Sunday, March 17!

To learn more, click here.

Hiroshi Yoshida (1876-1950), Fuji Above Yoshida Village, (Shimo-Yoshida), graphite, ink and watercolor on J. Whatman English watercolor paper; titled at lower right, SHIMO-YOSHIDA, and signed, H. YOSHIDA, ca. 1902-07, 13 3/8 by 20 1/4 in., (33.9 by 51.3 cm)

March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11am-5pm (appointments appreciated)
145 West 58th Street, Suite 6D

Scholten Japanese Art is pleased to present COLLECTING THE MASTER: The Binnie Collection of Hiroshi Yoshida Paintings, assembled by the prominent contemporary woodblock printmaker, Paul Binnie for this 15th year of Asia Week New York.

Hiroshi Yoshida (1876-1950) was a Japanese artist, painter and printmaker, widely known throughout the world for his woodblock printed work. Part of the shin- hanga (lit. ‘new print’) movement of the first half of the twentieth century, Yoshida’s prints were produced in the same way as earlier ukiyo-e (lit. ‘pictures of the floating world’); woodblocks would be carved by a specialist artisan following the design of an artist, and then printed in colors by a specialist printer, all under the direction of a publisher, who then undertook to sell the finished product. However, in Yoshida’s case, he eventually employed the carvers and printers directly, acting as his own publisher and even occasionally carving and printing himself.

Aside from this well-known print career, Yoshida had a very active life as a painter and exhibited in a range of Japanese government-sponsored exhibitions, private art society group shows, and commercial galleries. He also exhibited widely embarking on trips to the United States and Europe in his early twenties. Along with friend and fellow-painter, Nakagawa Hachiro (1877-1922), they arranged several exhibitions, primarily of their watercolors, at museums and galleries in the Midwest and New England to great acclaim. Yoshida would continue to make several trips to capture the natural landscapes throughout the United States and Europe.

Hiroshi Yoshida, 1876-1950, New York, (Nyu yoruku), oil on canvas; signed at lower left, H. Yoshida, ca. January – February 1924, painting 24 1/4 by 18 1/4 in., 61.5 by 46.2 cm, frame 29 3/4 by 23 5/8 in., 75.5 by 60 cm

A natural leader and innovator, Yoshida was arguably one of the most influential artists in his time and among later generations as well, as evidenced by this collection. The Scottish artist and printmaker Paul Binnie (b. 1967) began to build a collection of Yoshida woodblock prints and original paintings and drawings around 1989, when he purchased his first landscape print by the earlier master. In addition to the scrolls and fan paintings which feature subjects and motifs seen in Yoshida’s printed works, such as boats on the Inland Sea, and views of Mount Fuji, The Binnie Collection of Hiroshi Yoshida Paintings offers two drawings, four watercolors and eight oil paintings, including the original canvases for three of Yoshida’s woodblock prints, Breithorn, Ghats at Benares and New York.

To learn more, click here.